2011 Land Arts Journey 1 Summary

Land Arts 2011 at Texas Tech concluded its first journey on Wednesday 21 September 2011. The expedition amplifies the growing momentum of the Lubbock based program. The exceptional group of participants from architecture and art are: Alexander Bingham, Luis Bustamante III, Will Cotton, Winston Holloway, Richard Klaja, Celeste Martinez, Zachary Mitchell, Carl Spartz, Rachael Wilson, and Bethany Wood. Adrian Larriva (Land Arts 2009 Alum and TTU MARCH graduate) is the Program Assistant, and Chris Taylor continues to direct the program at Texas Tech.

From the wonderfully multivalent introductory site in the shadow of White Sands Missile Range to the remote archeological remains of Moon House our itinerary traversed significant physical and conceptual territory. We were out for twenty-seven days and traveled around 3,500 miles overland. During that time we were visited by outstanding field guests: geologist and Laguna Pueblo tribal member Curtis Francisco, documentary filmmaker Sam Douglas, art historian Ann Reynolds, CLUI Director Matt Coolidge, SIMPARCH member Steve Badgett, and Rob Ray.

Considerable heat welcomed our departure as much of West Texas has been scorched this summer. It remained with us punctuated by epic rain events tempering the extremes. From White Sands we ventured northwest to Chaco Canyon to experience the escalation of architectural impulse in North America and to become aware of the complexity of narratives attempting to make sense of the place. From there we traversed the Grants Mineral Belt, aka the uranium mining epicenter es, stopping at the New Mexico Mining Museum in Grants to gain perspective. Our usual site in Cebolla Canyon was unaccessible to use in our vans because of washouts through the deep arroyo. We adjusted and found a nice site up Sand Canyon. The following day was spent with Curtis Francisco touring the reclaimed Jackpile Mine at Laguna Pueblo. Jackpile was the largest open pit uranium mine from the mid 1950’s until the 1980’s. Ground water contamination continues to be among a host of issues and Curtis was encouraged to tell of recent traction towards Superfund status.

Our next top was another adjustment. As we departed Lubbock Tom McGrath phoned to followup on our inquiry to visit the Roden Crater Project by James Turrell. It seemed that timing was right and we swapped the North Rim of the Grand Canyon for a Roden Visit. This meant an opportunity to explore a new base site in the Coconino National Forest and spend an afternoon and early evening in the crater–a significant highlight for the students.

Venturing further west our next stop was Mormon Mesa, Nevada and the site of seminal earthwork Double Negative by Michael Heizer. We arrived to intense heat, as usual this time of year, so dips into an elevated Lake Mead were especially welcome to cool down and do a bit of laundry and bathing. While we were at Double Negative we were joined by Sam Douglas of Big Beard Films who is working on a new project about land art tentatively called “Moving Mountains: Land Arts of the American West.” Sam and his crew of David Hartstein, David Layton, and Ben, joined us to document the field operations of the Land Arts program.

A scheduling opportunity brought art historian Ann Reynolds to our group a day early so we made another itinerary adjustment from Goshute Canyon to South Base in Wendover, Utah to take advantage of the fine SIMPARCH sound system for the screening of Sam Douglas’s last documentary “Citizen Architect: Samuel Mockbee and the spirit of the Rural Studio.” The other serendipity was that the University of New Mexico Land Arts crew was in Wendover then so we were able to invite them to the screening and spend an evening swapping stories from the road.

Up early the next morning we were off around the top of the Great Salt Lake stopping at Sun Tunnels by Nancy Holt along the way to Spiral Jetty by Robert Smithson. I was particularly surprised with the new road extending all the way to the jetty. What had been before a gradually slowing drive across an increasingly rough road, the last mile at a snails pace carefully picking ones way around large rocks, has become a wide built-up road bed. Now it’s possible to zip all the way out there without pause. Seems a tour bus could even turn around at the end the bright pad is so large.

The Great Salt Lake was at a wonderfully elevated level so the Spiral Jetty was visible as a mirage in the surface of the water with only the highest rocks breaking the surface. The condition meant that it was a work to be apprehended by walking, or “seeing with your feet” as one of the students said. Understanding this work beyond its character as a visual image is essential and a powerful lesson of land art.

It was great to be there with art historian Ann Reynolds and a wonderful seminar took place on the afternoon of our second day there. Given the time to experience both the work and the larger context of Rozel Point and the oil exploration jetty to the south opened several lines of dialog. Sam and his crew also made good use of there time with us.

The next morning was another 8:00am departure heading the rest of the way around the lake. Our first stop was the Bingham Canyon Mine, an open pit copper mine so big they boast it can be seen from space. (It is often challenged as the largest excavation by the copper mine in Chuquicamata, Chile.) Since Robert Smithson has proposed works for the bottom of the pit it was particularly relevant to be there with Ann Reynolds. In the visitors center parking lot we bid our farewells to Ann, Sam and his crew as they set off for the Salt Lake airport and back to Austin, and we went on to Wendover, Utah to meet Matt Coolidge of the Center for Land Use Interpretation.

CLUI Wendover is always a highlight and given this season’s action packed start it is our first concentrated work site. Students have become eager to have time to make their own works and to reflect on the range of conditions and topics we have been exposed to thus far. They are also eager to do proper, well almost proper, laundry. We begin our time in Wendover with a lecture about CLUI from Matt and a day of touring the Wendover facilities and landscape conditions. The following days are spent with people working across the airbase and town, out on the Bonneville Salt Flats, and out at South Base where Steve Badgett and Rob Ray are in residence. Time in Wendover always seems to evaporate and energy levels draw low with long days and short nights. It is a fascinating and intensely productive landscape.

After Wendover our last work site for Journey 1 is Muley Point on Cedar Mesa in the far southeastern corner of Utah. The drive is long and epic across the top of a nearly full Lake Powell, with our usual camp site occupied we set up further west at a site much closer to the 1,100 edge of the mesa overlooking the goosenecks of the San Juan River. The sky is active to the north and southwest so we pitch camp quickly. As dinner concludes a big storm rolls in from Monument Valley dropping a significant amount of rain and lightning. Within an hour the sky calms and people retreat to their tents.

The remaining days were spent both exploring the landscape of Muley Point with filled tinajas and working. We also spent one day hiking out on Snow Flat to the archeological site of Moon House. The new trail remains strenuous however it is much safer than the old one. After the hike we went down to Mexican Hat for a cool down swim in the very muddy and swift San Juan River. The level was so high that there was essentially no bank and it was nearly impossible to walk across the river. So our efforts to float a bit of the river had to be limited to short distances. Still, and even with all the mud, it was refreshing to get in the water.

Our return route included a stop over at the Red Dog Shed in Madrid and the following day a visit to Bosque Redondo in Fort Sumner, New Mexico. This was the destination site of the Long Walk of the Navajo and Mescalero Apache. The audio guide and other programing are particularly moving.

Once back in Lubbock we unloaded the vans and dig a major cleaning and sorting of the gear to make it ready for our departure on Journey 2 on Thursday 29 September 2011. Look for more Field Reports whenever we have the ability to make remote posts. A select group of images from Journey 1 are included below.

Loading up in Lubbock

Loading up in Lubbock, Texas

Sam Douglas and Big Beard Films documenting our departure from Lubbock, Texas.


Twin Buttes, New Mexico

Unloading gear for the first time at Twin Buttes, New Mexico.

Setting up the cook tent for the first time, Twin Buttes, New Mexico.

Van mounted mapping notebook thanks to the work of Jose Villanueva and Sunny Tang, Twin Buttes, New Mexico.


White Sands National Monument

Alex Bingham’s reference book at White Sands National Monument, New Mexico.


Traveling to Chaco Canyon

Traveling from Twin Buttes to Chaco Canyon, New Mexico.

Stopping at the Trinity Site highway marker, New Mexico.


Chaco Canyon

Hiking to Pueblo Alto, Chaco Canyon, New Mexico.

Overlooking Pueblo Bonito, Chaco Canyon.

Touring Pueblo Bonito with G.B. Cornucopia, Chaco Canyon, New Mexico.



Visiting the New Mexico Mining Museum, Grants, New Mexico.


Jackpile Mine, Laguna Pueblo

Above Jackpile Mine with geologist Curtis Francisco, Laguna Pueblo, New Mexico.

Talking with geologist Curtis Francisco on top of Gabaldon Mesa in the reclaimed open pit uranium Jackpile Mine at Laguna Pueblo.



Truck stop lunch, Interstate 40, Arizona.


Roden Crater Project

Approaching Roden Crater, northeast of Flagstaff, Arizona.

Visiting Roden Crater with Tom McGrath.


Lake Mead

Laundry at Lake Mead, Nevada.


Double Negative

Walking Double Negative, Morman Mesa, Nevada.


Big Beard Films

Big Beard Films at Double Negative, Morman Mesa, Nevada.

Celeste Martinez interviewed by Sam Douglas at Double Negative, Morman Mesa, Nevada.


Citizen Architect

Screening the film Citizen Architect with filmmaker Sam Douglas, CLUI South Base, Wendover, Utah.


Sun Tunnels

Ann Reynolds at Sun Tunnels, near Lucin, Utah.

Sun Tunnels by Nancy Holt, near Lucin, Utah.

Carl Spartz being interviewed by Sam Douglas at Sun Tunnels, near Lucin, Utah.


Spiral Jetty

Arrival at the Spiral Jetty, Rozel Point, Great Salt Lake, Utah.

Camp at Spiral Jetty, Rozel Point, Great Salt Lake, Utah.

Within the Spiral Jetty, Rozel Point, Great Salt Lake, Utah.

Alex and the helicopter at the Spiral Jetty, Rozel Point, Great Salt Lake, Utah.

Oil Exploration Jetty, Rozel Point, Great Salt Lake, Utah.

New road to the Spiral Jetty, Rozel Point, Great Salt Lake, Utah.

Seminar with Ann Reynolds at Spiral Jetty, Rozel Point, Great Salt Lake, Utah.

Dusk at the Spiral Jetty, Rozel Point, Great Salt Lake, Utah.


Bingham Canyon Mine

Ann Reynolds explaining Roberts Smithson’s proposal for the bottom of Bingham Canyon Mine, Utah.


CLUI Wendover

Matt Coolidge talking about the work of the Center for Land Use Interpretation, Wendover, Utah.

Inside the Wendover Airfield Museum with Matt Coolidge at the John Costen-Mueller replica of Little Boy, Wendover, Utah.

On the Bonneville Salt Flats, near Wendover, Utah.

Touring the Clean Livin infrastructure with Steve Badgett, South Base, Wendover, Utah.

Laundry sans heat, Wendover, Utah.

Carl Spartz and Will Cotton prepare to talk the quad bike on a CLUI Wendover Auto Tour, Wendover, Utah.

Heading out onto the Bonneville Salt Flats, near Wendover, Utah.

Steve Badgett talking about the work of SIMPARCH under the atomic sky at South Base, Wendover, Utah.

Installing a bat tarp in the Target Hall to help CLUI and the South Base bats coexist, Wendover, Utah.

Late night clean up after dinner and a movie at South Base, Wemdover, Utah.

We get our energy from the sun, Wendover, Utah.

“Creation Myth of the Great Basin” by Carl Spartz, Wendover, Utah.

Alex Bingham taking readings around Wendover, Utah.


Muley Point

Arrival at Muley Point, Utah. Usual site occupied. Set up near the rim with storm looming in Monument Valley to the south.

Exploring the edge at Muley Point, Utah.

Celeste Martinez celestial vaulting at Muley Point, Utah.

At the edge looking towards Monument Valley, Muley Point, Utah.

Celeste drying hand, Muley Point, Utah.

Tub Harp by Will Cotton, Muley Point, Utah.

Will packing lunch for the Moon House hike, Muley Point, Utah.

Utensils Bin, Muley Point, Utah.

Hiking through the canyon, Cedar Mesa, Utah.

Winston inside Moon House, Cedar Mesa, Utah.

Cooling off and cleaning up in the muddy waters of the San Juan River, Mexican Hat, Utah.

Camp drawing by Chris Taylor, Muley Point, Utah.

Alex drawing at Muley Point, Utah.

Campfire and Milky Way, Muley Point, Utah.

Travel Day dawn, Muley Point, Utah.


Traveling back to Lubbock

Another Truck Stop lunch in the shade (narrow as it is), Bloomfield, New Mexico.

Carl, Adrian and Will at Red Dog Shed, Madrid, New Mexico.

Listening to the stories of Bosque Redondo and how it was the destination of the Long March for the Navajo and Apache, Fort. Sumner, New Mexico.

Lunch at Bosque Redondo, Fort Sumner, New Mexico.

Cleaning up from Journey 1, Lubbock, Texas

Sam Douglas, Austin, Texas, May 2011.

Land Arts Documentary

Sam Douglas, creator of Citizen Architect, began work in 2011 on a film about Land Arts of the American West that went on to become Through the Repellent Fence: a land art film. The narrative through line follows the indigenous collective Postcommodity as they implement a border crossing temporary artwork. Sam has a keen eye, great heart, and is a wonderful storyteller. The film premiered at the Museum of Modern Art Documentary Fortnight 2017 in New York and has gone on to screen at SXSW and many other keen venues. It broadcast on the PBS World Channel on 24 April 2018.


Visiting Sun Tunnels, near Lucin, Utah, 
15 September 2010.

Land Arts in the New York Times

Land Arts of the American West at Texas Tech featured in the New York Times, Wednesday 4 May 2011. Written by Randy Kennedy, who visited the Land Arts 2010 Exhibition in late April, the article was accompanied by an online slide show with images from the 2010 field season.

The story was also published in the The Seattle Times (7 May 2011), The Houston Chronicle (9 May 2011), San Antonio Express (9 May 2011), Revista Ñ in Buenos Aires, Argentina (28 June 2011), The Korea Times (29 June 2011) and in El Pais in Spain (30 June 2011).

Land Arts camp at Cabinetlandia, east of Deming, New Mexico, 14 October 2009.

Land Arts 2009 Exhibition

There is no “I” in Land Arts. Thriving in the desert requires community. 

Texas Tech University College of Architecture and the Louise Hopkins Underwood Center for the Arts (LHUCA) announce Land Arts 2009 Exhibition. An opening reception will take place from 6-9 p.m. February 12 at the new LHUCA Warehouses at 1001 Mac Davis Lane in Lubbock, Texas.

The exhibition culminates Land Arts of the American West at Texas Tech, a semester-long interdisciplinary field program in the College of Architecture that expands the definition of land art through direct experience of the complex social and ecological processes that shape contemporary landscapes. These forces include everything from geomorphology to human construction, and cigarette butts to hydroelectric dams.

The Land Arts 2009 Exhibition will continue through March 7 and features the work of Adrianna Alter, Sean Cox, Jason Fancher, Meredith James, Adrian Larriva, Kyle Robertson, Jose Villanueva, and Stephen Wollkind. Work was made while camping in the landscape of the American West for 56 nights traveling 7,000 miles during the fall of 2009 with Chris Taylor and Brice Harris. The itinerary included: White Sands, Chaco Canyon, north rim of the Grand Canyon, Goshute Canyon, Double Negative, Sun Tunnels, Spiral Jetty, Center for Land Use Interpretation Wendover, Muley Point, Plains of San Agustin, The Lightning Field, Very Large Array, Gila Wilderness, Chiricahua Mountains, Cabinetlandia, Marfa, Presidio, and concluded with a symposium at the Land Heritage Institute in San Antonio.

The exhibition will launch with an opening reception on Friday, 12 February 2010 from 6 – 9 pm. There will be a closing reception in conjunction with the First Friday Art Trail on Friday, 5 March 2010 from 6 – 9 pm. The exhibition will be open for viewing by appointment and on Saturdays from noon to 5pm. To set up an appointment contact Chris Taylor by phone at 806-392-6147 or by email at chris.taylor@ttu.edu.


About Land Arts
Land Arts was founded in 2000 at the University of New Mexico by Bill Gilbert with the assistance of John Wenger. From 2001 to 2007 the program developed as a collaboration co-directed by artist Bill Gilbert and architect Chris Taylor, then at the University of Texas at Austin. During this time Land Arts established a momentum of inquiry and production that has been the subject of many exhibitions and publications.

In 2007 Taylor extended the reach of Land Arts to Chile by leading an interdisciplinary conference in Santiago and a field expedition through the Atacama Desert. The enterprise is documented in the book Incubo Atacama Lab with texts in Spanish and English including a preface by Incubo, introductory essay by Taylor, excerpted field notes by writer William L. Fox, and essays from archeologist Flora Vilches, art historian Gonzalo Pedraza, architect Rodrigo Perez de Arce, geographer Pilar Cereceda, and glaciologist Andres Rivera. It is fully illustrated with photography by Jorge Brantmayer, Blake Gordon, Barbara Palomino, and Chris Taylor.

2008 marked a programmatic expansion for Land Arts with the arrival of Chris Taylor in Lubbock to join the faculty of Texas Tech’s College of Architecture. The Llano Estacado and the College of Architecture provide an ideal laboratory base for the program’s interdisciplinary work. Land Arts now operates autonomously at the University of New Mexico and Texas Tech. The 2009 Lubbock field crew was composed of architecture students and one post graduate from Yale (Meredith James, MFA Sculpture). Future years will include broader interdisciplinary involvement from students across the Texas Tech community in addition to participants from outside the university. The 2009 field season was made possible with generous operational support from Andrea Nasher.

In early 2009 the Nevada Museum of Art announced the creation of the new Center for Art + Environment and the acquisition of the archive of Land Arts of the American West. This collection will include artifacts from the development and creation of the program and a commitment to acquire ongoing Land Arts materials.

In 2009 the University of Texas Press published Land Arts of the American West, which recounts the history of collaboration between Bill Gilbert and Chris Taylor as they developed Land Arts. The book is organized around places they visit during field seasons each fall, which come alive through color photographs and descriptive information about natural and human history; first-person experiences from student journal entries; essays by William L. Fox, Ann Reynolds, J.J. Brody, and Lucy Lippard; and interviews with Matthew Coolidge, Mary Lewis Garcia, Graciela Martinez de Gallegos and Hector Gallegos. Woven throughout is a conversation between Taylor, Gilbert, and Fox, about the program’s origins, pedagogic mission, field operations, guests, and future directions. 

About the College of Architecture
The College of Architecture at Texas Tech University is located in Lubbock where architectural education has been offered since 1927. The college includes 850 undergraduate, graduate and PhD students and 50 faculty members. Graduate certificate programs are offered in Historic Preservation, Visualization, Community Design, Rural Health Care Design, and Digital Design Fabrication, as well as an interdisciplinary doctoral program in Land-Use Planning, Management, and Design. To extend the academic offerings on campus every forth year student participates in directed summer study abroad offerings in places such as Berlin, Granada, Paris, Seville, and Verona. The introduction of Land Arts within the college offers tremendous opportunities to expand field study and connect teaching and research more directly to the landscapes we inhabit.

About the Louise Hopkins Underwood Center for the Arts
The mission of the Louise Hopkins Underwood Center for the Arts is to inspire and enrich our community by being a catalyst for the arts. Celebrating ten years of serving our community, LHUCA is proud to announce this fabulous addition of the Warehouses on Mac Davis Lane as part of the LHUCA Campus. Our campus, located on a two city block area of downtown Lubbock, is the heart of the cultural district. The campus includes the FireHouse Building with a state-of-the-art theatre and four exhibition galleries, the Helen DeVitt Jones Clay Studio, and the IceHouse that provides rehearsal, event and gallery spaces. The Graffiti Building, equipped with a classroom and teaching gallery space, will open in April of this year. The newly acquired Warehouses will provide alternative exhibition and studio spaces for creative works that reach beyond the traditional gallery presentation. Land Arts 2009 Exhibition will demonstrate the flexible use of this space and serve as a magnet for the cultural growth and educational dialog between creator and viewer. The Board of Trustees and staff of LHUCA invite you to join us in celebrating the redevelopment and renovation of the cultural heart of Lubbock.


If you would like more information about Land Arts or to schedule an interview with Chris Taylor contact him by phone at 806-392-6147 or by email at chris.taylor@ttu.edu“. Additional information about the College of Architecture can be found by contacting Jess Schwintz at 806-742-3169, ext. 247 or visiting http://arch.ttu.edu, and the Louise Hopkins Underwood Center for the Arts by visiting http://lhuca.org.